This question was sent by David, and before that, I asked him what challenges is he facing when preparing for a wedding. And he wrote:

Fortunately, I have 5 years to practice for this. My biggest hurdle was actually covered in one of your recent podcasts where Jan was mentioning she might be practicing to quickly the speed of the piece. I have the same problem as I want to capture the artistic interpretation immediately, but am starting to realize it's more important to get the correct fingering and pedaling down first and perfect that and then focus on interpretation.

This question was sent by David, and before that, I asked him what challenges is he facing when preparing for a wedding. And he wrote:

Fortunately, I have 5 years to practice for this. My biggest hurdle was actually covered in one of your recent podcasts where Jan was mentioning she might be practicing to quickly the speed of the piece. I have the same problem as I want to capture the artistic interpretation immediately, but am starting to realize it's more important to get the correct fingering and pedaling down first and perfect that and then focus on interpretation.

This question was sent by Daniel. He writes: “Vidas: In your opinion, could Jesu Meine Freude, BWV 610, be setup with a big registration, which includes reeds and mixtures?”

This question was sent by Daniel. He writes: “Vidas: In your opinion, could Jesu Meine Freude, BWV 610, be setup with a big registration, which includes reeds and mixtures?”

This question was sent by Daniel. He writes: “Vidas: In your opinion, could Jesu Meine Freude, BWV 610, be setup with a big registration, which includes reeds and mixtures?”

This question was sent by Steven, and we are continuing our discussion about what makes a good free theme, let’s say for a prelude, because in a previous podcast we talked about the fugal theme. So let’s look at our example of BWV 541, Prelude and Fugue in G Major by Bach (and we discussed the fugue in the previous conversation).

This question was sent by Steven, and we are continuing our discussion about what makes a good free theme, let’s say for a prelude, because in a previous podcast we talked about the fugal theme. So let’s look at our example of BWV 541, Prelude and Fugue in G Major by Bach (and we discussed the fugue in the previous conversation).

This question was sent by Steven, and we are continuing our discussion about what makes a good free theme, let’s say for a prelude, because in a previous podcast we talked about the fugal theme. So let’s look at our example of BWV 541, Prelude and Fugue in G Major by Bach (and we discussed the fugue in the previous conversation).

This question was sent by Steven and he writes:

It would be an extremely interesting subject some time for a podcast, if you and Ausra might consider discussing what the elements of a good free theme and a good fugue theme are, as regards development.

All the best,

Steven

This question was sent by Steven and he writes:

It would be an extremely interesting subject some time for a podcast, if you and Ausra might consider discussing what the elements of a good free theme and a good fugue theme are, as regards development.

All the best,

Steven